This album is defined by the seminal and incalculable influence that Muddy's music has had on all popular forms of American music, an influence that would revolutionize music around the world.

Country blues were Muddy’s roots and remained at his core, but through the force of his artistry he transformed them. With electricity, volume, the weaving of bass and guitar lines with piano, harmonica and drums, he created the ensemble sound and subsequently the template for future Rock and Pop groups. His music’s raw power and energy, plus his attitude and magnetism—Muddy was the prototype for the iconic Rock‘n Roll star—are still the major ingredients that inspire the popular music we listen to today.

From the 1940s through the 1950s, Muddy’s blues were evolving. This evolution and innovation are the guiding principles and driving force of MUDDY WATERS 100. This tribute reflects a deep respect for tradition—with the participation of alumni of Muddy's groups—and also puts an emphasis on the future of the blues through the participation of pre-eminent contemporary artists who have embraced this music and given it its future.

STILL A FOOL (originally recorded by Muddy Waters in 1951)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Derek Trucks on slide guitar.
This song—originally featuring harmonica wizard Little Walter on guitar and Leonard Chess on bass drum—is an example of the amplified blues that Muddy was performing at that time. Muddy Waters 100 offers up a distinctly modern take of this song featuring Derek Trucks who has emerged as one of the most original slide guitarists of our time.
John Primer, vocals, guitar; Derek Trucks, slide guitar; Bob Margolin, guitar; Johnny Iguana, keyboards; Felton Crews, bass; Khari Parker, drums; Kenny “Beedy Eyes” Smith, electronic drums.

I BE’S TROUBLED (originally recorded by Muddy Waters in 1941)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Bob Margolin on slide guitar.
Alan Lomax and John Work III recorded Muddy playing this song on Stovall plantation as part of their field recordings for the U.S. Library of Congress. We are proud to bring together John Primer and Bob Margolin, two ex-Muddy Waters guitarists on record for the first time.
John Primer, vocals; Bob Margolin, slide guitar; Keith Henderson, guitar; Johnny Iguana, keyboards; Felton Crews, bass; Khari Parker, drums;
Blaise Barton, spoons, tambourine, drum loop programming.

I’M READY (originally recorded by Muddy Waters in 1978)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Johnny Winter on slide guitar.
I’m Ready is the title track of Muddy’s 1978 album produced by Johnny Winter. We are grateful that Johnny Winter had the chance to pay a final tribute to his friend and mentor; he played on this track only five weeks before he passed away.
John Primer, vocals, guitar; Johnny Winter, slide guitar; Bob Margolin, guitar; Johnny Iguana, keyboards; Felton Crews, bass; Kenny “Beedy Eyes” Smith, drums.

MANNISH BOY (originally recorded by Muddy Waters in 1955)
London, McDaniel, Morganfield (Bug Music/Watertoons Music)
This song was a response to Bo Diddley’s I’m A Man, which had been released that same year and was inspired by Muddy’s classic Hoochie Coochie Man. Mannish Boy is one of Muddy’s most iconic songs and has been covered by many artists, and has also been featured in countless films, television shows and commercials. Muddy Waters 100 presents its own unique, contemporary rendition.
John Primer, vocals, guitar; Bob Margolin, guitar; Matthew Skoller, harmonica; Johnny Iguana, keyboards; Felton Crews, bass; Blaise Barton, piano, drum loop programming.

ROSALIE (originally recorded by Muddy Waters in 1942)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Steve Gibons on fiddle.
This song was originally played by The Son Sims Four (with Muddy, Son Sims on fiddle and Louis Ford on mandolin) and recorded by Alan Lomax and John Work III on Stovall plantation as part of their field recordings for the U.S. Library of Congress. Muddy Waters 100 features Steve Gibons from Chicago on fiddle.
John Primer, vocals; Steve Gibons, fiddle; Bob Margolin, acoustic guitar; Billy Flynn, mandolin; Felton Crews, bass; Khari Parker, drums.

WHY DON’T YOU LIVE SO GOD CAN USE YOU (originally recorded by Muddy Waters in 1942)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Vincent Bucher on harmonica and Leanne Faine on vocals.
Another of the Lomax/Work U.S. Library of Congress field recordings, this was most likely the only gospel song that Muddy recorded in his lifetime. Muddy Waters 100 features Chicago gospel legend Leanne Faine second vocal and harmonica wizard Vincent Bucher.
John Primer, vocals, guitar; Leanne Faine, vocals; Keith Henderson, guitar; Bob Margolin, guitar; Vincent Bucher, harmonica, background vocals;
James Teague, background vocals; Kenny “Beedy Eyes” Smith, drums, percussion.

GOOD NEWS (originally recorded by Muddy Waters in 1957)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring James Cotton on harmonica and Bob Margolin on guitar.
James Cotton played on the original recording of this song. Almost six decades later, Mr. “Superharp” is still blowing strong in his tribute to the father of Chicago blues on his 100th birthday. Muddy Waters 100 is thrilled to have the Chicago harp legend playing on this track 58 years later!
John Primer, vocals, guitar; James Cotton, harmonica; Bob Margolin, guitar; Johnny Iguana, keyboards; Felton Crews, bass; Kenny “Beedy Eyes” Smith, drums.

SHE MOVES ME (originally recorded by Muddy Waters in 1951)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Matthew Skoller on harmonica.
This track was recorded during the same session as Still A fool and featured Little Walter Jacob on harmonica. This was the first session in which Little Walter plugged his harmonica into an amplifier, revolutionizing the instrument and its sound. Muddy Waters 100 is happy to have band leader and Chicago harp ace Matthew Skoller supporting John Primer on this seminal track.
John Primer, vocals, guitar; Matthew Skoller, harmonica; Billy Flynn, guitar; Kenny “Beedy Eyes” Smith, drums.

CAN’T GET NO GRINDIN’ (originally recorded by Muddy Waters in 1972)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Billy Branch on harmonica.
The original version of this rollicking track featured one of Muddy’s greatest post-“Headhunters” bands which included Willie “Big-Eyes” Smith, Muddy’s long-time drummer and father of Kenny “Beedy Eyes” Smith, who takes the drum seat here. Muddy Waters 100 is keeping it all in the family!
John Primer, vocals, guitar; Billy Branch, harmonica and background vocals; Bob Margolin, guitar; Johnny Iguana, keyboards; Felton Crews, bass; Kenny “Beedy Eyes” Smith, drums; Vincent Bucher, James Teague and Leanne Faine, background vocals.

LAST TIME I FOOL AROUND WITH YOU (originally recorded in 1949)
McKinley Morganfield (Bug Music/Watertoons Music)
Featuring Keb’ Mo’ on slide guitar.
Jimmy Rogers was one of Muddy’s early friends in Chicago, and would become an important part of Muddy’s evolving sound. This song was originally recorded for Chess Records; three years late, Rogers would record for Chess a song called “Last Time” under his own name. John Primer and Keb’ Mo’ join together on Muddy Waters 100 to make a rocking, soulful version of one of Muddy’s earliest recorded songs.
John Primer, vocals, guitar; Keb’ Mo’, slide guitar; Bob Margolin, guitar; Johnny Iguana, keyboards; Felton Crews, bass; Kenny “Beedy Eyes” Smith, drums, electronic drums; Blaise Barton, guiro, shakere.

I FEEL SO GOOD (originally recorded by Muddy Waters in 1959)
Broonzy, William Lee Conley (Songs of Universal)
Featuring James Cotton on harmonica.
James Cotton also played on Muddy’s original recording of this track. This Muddy Waters 100 version uses two guitars and no bass.
John Primer, vocals, guitar; James Cotton, harmonica; Bob Margolin, guitar; Johnny Iguana, piano; Kenny “Beedy Eyes” Smith, drums.

FEEL LIKE GOING HOME (originally recorded by Muddy Waters in 1948)
MCKINLEY MORGANFIELD (BUG MUSIC/WATERTOONS MUSIC)
The first pressing of this song, released on a Friday in 1948, was such a hit that by Saturday evening all copies were gone. It was so popular that customers were limited to one copy only. This version features Muddy Waters 100 front man John Primer showing just how deeply he channels his hero and mentor.
John Primer, vocals, guitar; Felton Crews, bass; Kenny “Beedy Eyes” Smith, bass drum.

Key Dates

Born on April 4th in 1913 in Rolling Fork, Mississippi. (He changed his legal birthdate to 1915 sometime during the 1950s and continues to be recognized by his family and estate as his legal birth year.)

Arrives on Stovall plantation in 1916 at age three.

Buys his first guitar in 1932.

Recorded by Alan Lomax and John Work for the Library of Congress in 1941.

Recorded by Alan Lomax again for the Library of Congress in 1942.

Moves to Chicago in 1943.

Scores his first big hits in 1948 on the Aristocrat label with “Can’t be Satisfied” and “Feel Like Going Home.”

Muddy Waters Condensed Biography

It could be argued that Muddy Waters has had more influence on the popular American music that we hear coming from our radios, smartphones and computer than any other single American artist of the 20th century.

Muddy was a singer without peers, a talented songwriter and pioneering guitarist. He defined a genre that would go on to be the very foundation of all Rock and Pop music. If one considers the scope of that influence—his trailblazing use of electricity as tonal effect, his groups that were the template for the modern rock and pop ensemble sound, his songs that spoke about previously taboo topics, his sexually-charged stage charisma that paved the way for the rebel “bad-boy” rocker—he provided the blueprint for rock and pop groups as they exist today.

Muddy was born McKinley Morganfield in 1913 in Rolling Fork, Mississippi. (He changed his legal birthdate to 1915 sometime during the 1950s and continues to be recognized by his family and estate as his legal birth year.) He was influenced by the great early delta blues pioneers Charley Patton, Robert Johnson and Son House.
Muddy grew up and worked on the Stovall plantation in Clarksdale, Mississippi. By the age of 13 he was already performing at house parties. He left Stovall in 1943 and relocated to Chicago in hopes of making a name for himself with his music. In the late 1940s Chess Records released sides that quickly made him a star on the Chicago blues scene and beyond.

Throughout the late 1940s and 1950s, Muddy enjoyed a hugely successful recording and performing career. By the end of the 1950s, he was still making vital music, but the rise of Rock & Roll with a new and huge white audience began to eclipse his popularity and his ability to sell records. It was in the early to mid 1960s that British blues fans soon rekindled interest in him and the electric Chicago blues. The so-called British Blues Invasion made the world aware of the growing UK rock scene.

It was the British rock artists who "re-introduced" the blues to the American white audience and helped to revive Muddy's relevance during that period. Muddy went on to enjoy worldwide success playing to audiences all over the world. The King of Chicago blues passed away on April 30th, 1983 due to heart failure.

John Primer Condensed Biography

John Primer, internationally recognized as one of today’s most crucial keepers of the Chicago-blues flame, has stepped out with his own deeply personal tribute to someone he knew very well. Those who’ve tracked Primer’s career know that he broke through with Willie Dixon (another towering figure in Chicago blues), spent more than a decade alongside Magic Slim and has released 14 albums of his own. In between Willie and Slim, though, was the gig that changed his life and literally made his dreams come true: he was in the Muddy Waters Blues Band.

Primer, who spent his childhood in Mississippi listening to Muddy's records, said, "I used to dream that I was playing onstage with the Muddy's band when I was a kid. He was my idol.” John Primer spent his cherished time with Muddy well, not only becoming the featured guitarist and vocalist in his band but absorbing everything he could from the master. In addition to the vocal and instrumental sounds Muddy passed on to him (not to mention the passion, knowledge and respect for the blues tradition), Muddy was also a father figure to John and they shared a powerful bond. Ever since, John has felt a responsibility to carry on Muddy’s sound and songs—a responsibility he doesn’t take lightly. He fully understands that he is the one to keep his legacy alive. John Primer is most definitely a singular artist in his own right—but when it comes to invoking the spine-tingling sound and spirit of Muddy Waters, no one on planet Earth can touch him. Muddy Waters is the original master, John Primer is the undisputed heir. When John is doing Muddy, just close your eyes...and Muddy is there. Enjoy Muddy Waters 100 featuring John Primer some very special guests.